Interviews and Reviews

Emily Apter, “A Conversation with Aliza Shvarts” October, 176 (Spring 2021):


Charlotte Kent, "Phreaking the Hotline: Aliza Shvarts," CLOT Magazine, 28 October 2020:

Elizabeth Buhe, “Aliza Shvarts: Purported,” The Brooklyn Rail, August 2020:

Hallie Ayres, Emily Apter, and Aliza Shvarts in Conversation on Purported, e-flux Podcast, 5 May 2020: and [transcript]

Emily Watlington, "Aliza Shvarts on the Traumatic Experience of Going Viral," Art in America, 24 April 2020,

Wendy Vogel, "Weapon of Choice," Artforum, 13 March 2020,

Lux Alptraum, "Opening a Pandora's Box of Truths About Rape Kits," Vox, 19 February, 2020,

Zuzana Štefková, "The body as evidence," Artalk, 11 September 2019,

[english translation]

Olga Kopenkina,"Forever Banned: Feminist Fictions in the Work of Aliza Shvarts," Moscow Art Journal No. 109 (2019)


Osman Can Yerebakan, "The Artist Making Installations Out of Rape Kits," New York Magazine: The Cut, 15 January 2015: [Anthem.pdf]

Emmanuel Olunkwa, "Interview: Aliza Shvarts," Artforum, 18 June 2018:

Wendy Vogel, “Going Viral: Aliza Shvarts's Daring Performance Work.” Mousse Magazine, Issue 64 (Summer 2018). [Going Viral.pdf]

Jenna Crowder, “Language at the Edge of Legibility: Aliza Shvarts at Artspace New Haven,” Temporary Art Review, 28 June 2018:

Martha Willette Lewis, "Live Culture, Episode 37: Structure (De, Con, & In)", WPKN (March 31, 2018):

Packsy Plackis-Cheng, "Aliza Shvarts on Being Banned and What We Have in Common," Impactmania, 30 May 2017:

Andrew Kachel, "Aliza Shvarts," Out of Order Magazine (Summer 2017): 257-267. [alizashvarts.pdf]

Catalogues, Academic Books, and Articles

Sarah Fritchey, Angelique Szymanek, and Aliza Shvarts, Aliza Shvarts: Off Scene, design by Cayla Lockwood (New Haven, CT: Artspace, 2018).  [Off Scene.pdf]

Nikki Cesare Schotzko. Learning How to Fall: Art and Culture After September 11. (New York: Routledge 2015). [Schotzko_Learning How to Fall.pdf]

Ana Grahovac. “Aliza Shvarts’s Art of Aborting: Queer Conceptions and Reproductive Futurism.” Studies in the Maternal, 5(2), 1-19:

Jennifer Doyle. Hold it Against Me: Difficulty and Emotion in Contemporary Art. (Durham: Duke University Press, 2013). [Doyle_Hold it Against Me.pdf]

Lisa Hall Hagan. “A performance ethics of the ‘real’ body: the case of Aliza Shvarts and ‘Untitled [Senior Thesis], 2008.” Performing Ethos, 2:1 (2012). 

Rosemary Candelario. "Abortion Performance and Politics." CSW Update, UCLA Center for the Study of Women. 2012:

Joseph Roach, “Deep Play, Dark Play: Framing the Limit(less).“ The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum. Ed. James Martin Harding and Cindy Rosenthal. (New York: Palgrave MacMillan, 2011): 275-283.

Wendy Steiner. The Real Real Thing: The Model in the Mirror of Art. (Chicago: Chicago University press, 2010).

Carrie Lambert-Beatty, “Make-Believe: Parafiction and Plausability”, October No. 129 (Summer 2009): 51-84. Cambridge, MA: MIT University Press. [Lambert-Beatty_Make-Believe.pdf]

Other Press

Laryb Abrar, “Abortion Art and its #MeToo Moments,” Musee Magazine, 25 July 2018:

Lux Alptraum, "There is Life After Campus Infamy," The New York Times, 21 July 2018:

Coco Fusco, "Learning the Rules of the Game," Texte Zur Kunst, 109 (March 2018): 108-127.

Charlie Finch, “Mission Aborted” Artnet Magazine (May 2008):

Amanda Marcotte “A+ For Abortion Art”, Reproductive Health Reality Check (2008):

Seth Kim-Cohen, “Art Lecturer: Yale erred in banning Shvarts’ art” Yale Daily News, April 23 2008: